Ghimire Yubaraj is the co-founder and Artistic Director at Shilpee Theatre Nepal, located in Battisputali, Kathmandu. He is a writer and director. With a long-standing background in literature, the writer in him introduces himself in a poetic way. He prefers to be introduced as an awakened person.

Do you remember the first moment you truly fell in love with theatre? What pulled you in – a performance, a person, a feeling?

“I don’t have one particular moment that made me fall in love with theatre – it was more of a collective experience over time. But there were definitely some unforgettable moments. One of them was in 2002, when the play Barud Shatabdi was selected as the best play at the National Theatre Festival. I was one of the lead actors in that production, and it was an incredible feeling. Another special moment was in 2001, when I had the chance to act in Kumari, a play written by Ashesh Malla and directed by Sunil Pokharel. I also vividly remember listening to a speech by Ratan Thiyam, the renowned theatre director from Manipur, in Kathmandu in 1999. Watching his play Chakravyuha around the same time was a profound experience. Then in 2004, while in India, I watched a grand play based on Munshi Premchand’s novel Godaan. For the first time in my life, I cried while watching a play. And yes, another deep connection to theatre came in 2003, during Agniko Katha at Gurukul Theatre, when I had to go bald for the role and my friend was cutting my hair backstage. It’s moments like these that shaped my love for theatre. Now, my relationship with it is more complex – it’s a love-hate relationship.”

When Ghimire Yubaraj co-founded Shilpee Theatre Nepal, the vision was never just about staging plays – it was about building a community. “We dreamed of forming a group of artists who felt like a well-connected family – caring for one another and working together in every aspect of theatre,” he shares. “Artists who were socially and politically aware. We dreamed of building a beautiful theatre space, creating grand productions, and traveling far and wide to share our work.”

That vision has not only materialized but continues to evolve. For Ghimire, theatre isn’t merely performance – it is people, politics, pain, and poetry. In the context of Nepal, he believes theatre can offer something deeply vital:

“It gives hope and happiness. Theatre is a breathing space for people- a place to pause, reflect, and feel alive. Sometimes, it can even be a space where people find love – just as I found mine”

he adds with a smile.

Lost and Found by Shilpee

His recent play, Lost and Found, resonates with that same layered honesty. What inspired the story? “Love and attraction between two people with a significant age difference, along with the complex shades of love and hate among city dwellers,” he says.

Asked about the central emotions and themes of the play, Ghimire sums it up in one powerful word: “Relation.” That theme, he believes, transcends borders and languages -speaking to audiences across cultures.

The journey of Lost and Found has also been a deeply personal one.

“There are many reasons. I feel that literature and theatre have shaped every part of my thoughts and being – I am made of them, in every sense,” he reflects. Certain lines from the play have taken on emotional weight for him over time:

• “I like my mother’s name.”
• “My budha is in jail.”
• “I like chilled beer, ma’am.”
• “Good night all the stateless people from the world.”

With such heartfelt resonance, it’s no surprise that Lost and Found is heading to an international stage. Ghimire’s Europe tour is more than a theatrical showcase – it’s a cultural dialogue.

“My friends in Europe want to see what we are creating here in Kathmandu. It’s a special gathering with theatre artists from the East and the North. It’s not just a play- it’s a moment of exchanging love and humanity. It’s also a voice against borders and barriers.”

What does he hope global audiences will take away from this deeply Nepali yet universally human story?

“Surprises – they may discover shared emotions between two different worlds.”

In the midst of travel and performance, Ghimire grounds himself with something simple but essential: “An open mind,” he laughs.
And when it comes to caring for his team – especially during emotionally demanding work – he believes in listening deeply. “We listen to each other all the time. We respect their state of mind.”

Even after decades in theatre, there are still stories Ghimire holds close. When asked if there’s a narrative he hasn’t shared yet, his answer is immediate, visceral:

This raw honesty, poetic in its own right, encapsulates who Ghimire is – not just an artist but a man deeply entwined with his work, his emotions, and the stories he’s yet to offer the world.
For those who have never experienced Nepali theatre, he offers a metaphor that is equal parts humorous and deeply reflective:

“It’s like never laughing your whole life, or never crying by someone’s side. It’s like never meeting new people. Or you have never tasted new food. Or like staying awake all night – or never truly being awake at all.
(Just kidding.)
It is not compulsory to go to theatre. It’s totally fine not to watch theatre – just like it’s fine to live a boring life.”

With a wink of mischief and truth, Ghimire invites us to consider what it means to truly live, feel, and connect.

And finally, when asked about a line that stays with him – one that lingers no matter where he is or what he’s working on – he offers a simple, powerful truth:

“No one should be discriminated against for any reason.”

In the world of Ghimire Yubaraj, theatre is not just an art – it is a reflection of life in all its contradictions, tenderness, humour, and hope. And though he may not yet be ready to tell that one story, every performance, every word he shares, reminds us that the most profound stories are often the ones still waiting to be told.

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